Abstract: This article analyzes the reforms carried out by the outstanding performer Yuan Xuefen in Chinese Yue opera and her reflections on the ways of developing the genre. From the moment Yuan Xuefen debuted as a leading actress in 1936, she acquired profound mastery in performing traditional Yue opera. She recorded the first gramophone record in the history of this opera with a woman in the leading role — Fang Yuniang Weeps at the Pagoda (《方玉娘哭塔》), which received a wide public response. Beginning in 1942, she turned to the search for ways to modernize traditional Yue opera, creating a series of classic characters, including Xianglin Sao (祥林嫂) in the play of the same name and Jidi (季娣) in the performance Love of Mountains and Rivers (《山河恋》). From the standpoint of the 21st century, in her career, Yuan Xuefen did not blindly adhere to established canons. She carried out innovative reforms in the areas of musical melodies, dramaturgy, and stage expression. The article uses a combination of literature analysis and historical narrative methods. The work is divided into three parts: the first part presents Yuan Xuefen's activities in the history of traditional Yue opera; the second part provides a detailed analysis of the reforms she conducted after 1942 to modernize traditional Yue opera; the third part considers the profound influence of her stage work on contemporary Yue opera art. The novelty of this study lies in the systematic integration of Yuan Xuefen's creative path, through which it was possible to identify specific mechanisms for synthesizing traditional elements of Yue opera with innovative approaches of that time in musical accompaniment, dramaturgy, scenography, and acting skills. The article also presents an integrative theoretical model that combines the traditional aesthetic foundations of Yue opera with Yuan Xuefen's innovative reformist approaches. The model demonstrates how the fusion of cultural heritage and innovative solutions in music, dramaturgy, and stage embodiment ensures the sustainable development of the genre and serves as a methodological basis for further research.

Keywords: dramaturgy, Chinese aesthetics, theatrical art, reform, modernization, traditional Chinese opera, Yue opera, Yuan Xuefen, stage performance, vocal schools

Abstract: The subject of the study is the color scheme, in particular the color antithesis, of Terrence Malick's film «Days of Heaven». The color palette of the film by Terrence Malick, a little-known director at the time of the film's release, caused mixed reviews, both positive and critical. First of all, the work interested the professional jury and viewers with its aesthetic side, so you can still find the opinion that the film «Days of Heaven» is one of the most beautiful in world cinema. The aesthetics of the film, indeed, cannot fail to interest in the originality of the artistic solution. It is important to note that the visual series of the film also performs a conceptually significant task. The object of the study is color as a meaning-forming concept. Color plays a vital role in all spheres of human life, but in the visual arts it often acts as one of the most important components of the artistic solution, on which the basic understanding of the concept and idea of the entire work depends. The main research methods are analytical and comparative-historical. The perception of color and conceptual approaches to the coloristic solution of the film «Days of Heaven», are analyzed. The comparative historical approach is manifested through intertextuality and significant allusions. Terrence Malick's film may be of interest to a modern Russian viewer not only from an aesthetic point of view, but also due to the fact that it raises topical issues of the confrontation between man and nature and touches upon a whole range of social problems that America faced at the beginning of the 20th century. The scientific novelty of the article lies in the study of the main conceptual idea of the film, which follows from the color antithesis, which has practically not been studied by art historians.

Keywords: antithesis, Days of Heaven, T. Malick, meaning-forming concept, visual-figurative series, pictorial solution, artistic technique, coloristic solution, color symbolism, image of the hero